THE  DEVELOPMENT  OF  AMERICAN 
POPULAR  MUSIC 

BY 

RICHARD  EUGENE  KENT 


THESIS 


for  the 

Degree  of  Bachelor  of  Music 


MUSIC 


SCHOOL  OF  MUSIC 
UNIVERSITY  OF  ILLINOIS 


1921 


V51A 

KAA 


UNIVERSITY  OF  ILLINOIS 


June  .13.,. ...1921.... 


THIS  IS  TO  CERTIFY  THAT  THE  THESIS  PREPARED  UNDER  MY  SUPERVISION  BY 


RICHARD  EUGE NE . . KENT 

ENTITLED  . . THE . DEVELOPMENT-  OF-  AMERICAN  - POPULAR- . MUSIC 


IS  APPROVED  BY  ME  AS  FULFILLING  THIS  PART  OF  THE  REQUIREMENTS  FOR  THE 
DEGREE  OF... BACHELOR  OF  . MUSIC  IN  MUSIC 


3 

>12 


Digitized  by  the  Internet  Archive 
in  2015 


https://archive.org/details/developmentofameOOkent 


THE  DEVELOPMENT  OF  AMERICAN  POPULAR  MUSIC 


The  question  of  the  present  tendencies  in  the  popular 
music  of  America  is  one  well  worth  serious  consideration  since  it 
influences  the  musical  taste  of  such  a vast  number  of  people.  Many 
reasons  might  be  given  for  the  ever-increasing  vogue  of  popular 
music.  Not  the  least  of  these  is  to  be  found  in  the  presence  of  a 
piano  or  some  other  musical  instrument  in  nearly  every  home.  Such 
was  not  the  case  twenty- five  years  ago.  The  advent  of  the  pianola 
and  other  mechanical  players,  together  with  the  phonograph  and  gram- 
ophone, also  have  tended  to  create  a demand  for  popular  music.  Again, 
the  teaching  of  the  rudiments  of  music  in  the  public  schools  has 
served  to  bring  the  art  more  closely  before  the  public,  with  the 
result  that  nearly  every  girl  in  the  country,  whose  parents  can 
afford  it,  is  receiving  music  lessons  as  a part  of  her  general  edu- 
cation. In  homes  where  very  little  music  of  any  kind  previously  had 
been  heard  it  is  but  natural  that  music  of  a popular  style  at  first 
would  be  most  acceptable,  this  serving  to  satisfy  until  the  taste  be 
elevated  so  as  to  desire  something  of  a better  nature. 

The  appearance  of  singers  of  high  rank  in  musical  comedy 
and  in  vaudeville  undoubtedly  has  become  a factor  in  forwarding  the 
cause  of  popular  music.  While  the  presence  of  such  singers  in  the 
vaudeville  ranks  has  been  deplored,  the  fact  that  they  have  made 
their  appearance  there  has  to  some  extent  raised  the  standard  of 
popular  music  in  this  country,  for  the  class  of  music  which  they 
have  sung  has  been  in  advance  of  that  generally  produced.  There  is 
no  question  but  that  the  purveyors  of  popular  music  have  shown  more 


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enterprise  in  the  production  of  music  that  will  please  their  patrons 
than  have  those  who  cater  to  a class  with  higher  artistic  perceptions. 

Of  the  quantities  of  popular  songs  published  in  the  last 
thirty  years  but  few  have  attained  any  lasting  popularity.  Songs  of 
which  hundreds  of  thousands  of  copies  have  been  sold  are  now  com- 
pletely forgotten.  The  reason  for  this  is  hard  to  ascertain.  It  is 
not  because  the  later  songs  are  of  inferior  merit,  for  a steady  ad- 
vance has  been  made  in  all  popular  music.  The  public  now  readily 
accepts  harmonies  which  but  a few  years  ago  would  have  been  looked 
upon  as  too  difficult  and  complicated.  In  the  matter  of  text  of  our 
present  day  popular  songs,  however,  the  same  advancement  has  not  been 
made.  There  rarely  is  shown  the  same  simplicity  and  wholesome  senti- 
ment seen  in  our  earlier  songs,  such  as  "Home  Sweet  Home”  and  MCld 
Black  Joe".  Popular  taste  now  looks  for  words  touching  on  the  events 
of  the  moment  rather  than  those  dealing  with  emotions  and  feeling 
which  are  common  to  all  and  which  are  always  in  evidence. 

The  consideration  of  popular  music  naturally  requires  a 
review  of  negro  minstrelsy  because  the  minstrel  show  so  long  served 
as  the  medium  by  which  such  music  was  given  to  the  public.  In  early 
times  among  the  Europeans  the  folksongs  and  dance  tunes  were  the 
music  of  the  people.  These  old  melodies  handed  down  from  generation 
to  generation  still  form  the  nucleus  of  the  popular  music  of  Euro- 
pean countries.  To  them  have  been  added  from  time  to  time  songs 
written  in  a simple  style  and  dance  music,  marches,  and  airs  from  the 
operas.  Here  in  .America,  where,  on  account  of  our  youth  as  a nation 
we  can  have  no  true  folksongs,  we  must  of  necessity  begin  to  build  on 
a different  foundation. 

In  a broad  sense,  popular  music  rnay  be  defined,  as  its 


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name  implies,  as  that  of  the  populace — that  is,  of  people  who  have 
made  no  special  study  of  the  art  of  music.  It  must  he  of  a kind 
that  can  be  easily  learned  and  readily  recalled.  This  music  need 
not  be  trifling  or  trivial,  but  it  must  be  simple.  If  it  be  a song 
the  words  must  contain  some  sentiment  common  in  appeal  to  all,  a 
sentiment  touching  the  home,  love,  joy  or  sorrow,  or  the  theme  may 
be  some  subject  which  at  the  time  is  agitating  the  public  mind.  The 
melody  must  be  singable  and  the  rhythm  "catchy".  If  the  composition 
be  purely  instrumental,  such  as  a march  or  a waltz,  the  same  musical 
characteristics  must  be  in  evidence.  Popular  music  becomes  such 
because  it  requires  for  its  enjoyment  neither  special  musical  train- 
ing nor  serious  mental  effort  on  the  part  of  the  listener.  The  dif- 
ference between  popular  and  so-called  classical  music  really  rests 
with  the  hearer  rather  than  the  music  itself,  Por,  speaking  in  gen- 
eral, classical  music  calls  for  those  very  elements  in  musical  culture 
and  mental  effort  for  its  appreciation  which  popular  music  does  not 
require. 

After  a hard  day*  s work  in  shop  or  factory,  after  strenuous 
hours  in  the  commercial  world  or  at  the  desk,  physical  and  mental 
relaxation  are  absolutely  necessary  to  the  enjoyment  of  any  enter- 
tainment, not  excepting  music  -~  even  by  one  who  thoroughly  appreciates 
$he  art,  Ho  pleasure,  either  of  a physical  or  mental  nature,  can  be 
enjoyed  where  weary  body  and  mind  have  to  make  effort  for  the  occa- 
sion, Therefore  the  music  of  the  people  must  be  such  that  the  hearer 
catches  it  almost  unconsciously. 

The  first  genuinely  American  songs,  both  as  to  words  and 
music,  were  a group,  of  which  "Hail  Columbia"  is  the  only  survivor. 

The  author  of  the  words,  Joseph  Hopkinson,  was  born  in  Philadelphia, 


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Pennsylvania,  November  12,  1770.  He  was  educated  at  the  University 
of  Pennsylvania,  and  became  a lawyer  of  distinction  in  his  native 
city.  He  was  a promoter  of  the  cause  of  liberal  education,  and  a 
man  of  kindly  personal  traits.  He  died  in  Philadelphia,  January  15, 
1842.  MHail  Columbia"  was  written  in  the  summer  of  1798,  when  a war 
with  Prance  was  thought  to  be  inevitable,  Congress  then  being  in 
session  in  Philadelphia,  deliberating  upon  that  important  subject, 
and  acts  of  hostility  having  actually  occurred.  The  contest  between 
England  and  Prance  was  raging,  and  the  people  of  the  United  States 
were  divided  into  parties  for  one  side  or  the  other;  some  thinking 
that  policy  and  duty  required  us  to  take  part  with  Republican  France, 
others  were  for  our  connecting  ourselves  with  England,  under  the  be- 
lief that  she  was  the  great  preservative  power  of  good  principles 
and  safe  government.  The  violation  of  our  rights  by  both  belligerents 
was  forcing  us  from  the  just  and  wise  policy  of  President  Washington, 
which  was  to  do  equal  justice  to  both,  to  take  part  with  neither, 
but  to  keep  a strict  and  honest  neutrality  between  them. 

The  prospect  of  a rupture  with  Prance  was  exceedingly 
offensive  to  those  who  espoused  her  cause  and  the  violence  of  party 
spirit  was  unusually  high.  A young  singer,  a very  good  friend  of 
Hopkinson,  was  about  to  give  a benefit  concert  at  that  time.  He  had 
twenty  boxes  in  the  theater  untaken,  and  the  prospects  were  that  he 
should  suffer  a loss  rather  than  receive  a benefit.  He  told 
Hopkinson  that  if  he  could  get  a patriotic  song  adapted  to  the  tune 
of  "The  President’s  March",  then  the  popular  air,  he  did  not  doubt  of 
a full  house.  Hopkinson  told  him  that  he  would  try  it,  and  the  next 
afternoon  the  song  was  ready.  It  became  immensely  popular  immediate- 
ly; it  was  sung  at  night  in  the  streets  by  large  assemblies  of 


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citizens,  including  members  of  Congress.  Not  an  allusion  was  made 
in  the  song  either  to  France  or  England,  or  the  quarrel  between 
them.  The  song  found  favor  with  both  parties.  It  was  truly  Amer- 
ican, and  the  patriotic  feelings  of  every  American  heart  responded 
to  it. 

The  music  of  the  song  was  written  as  a march,  and  went  at 
first  by  the  name  of  "General  Washington's  March”.  Later  it  was 
called  ”The  President's  March”  and  it  was  played  in  1789,  when 
Washington  came  to  New  York  to  be  inaugurated.  The  Composer's  name 
is  a little  uncertain,  but  Mr.  Custis,  the  adopted  son  of  Washington, 
mentions  its  having  been  composed  in  1789  by  a German  by  the  name  of 
Fayles,  leader  of  the  orchestra  at  the  old  John  St.  Theater  in  New 
York. 

The  most  successful  song-writer,  which  America  has  yet 
produced  was  Stephen  Foster.  His  songs  have  obtained  a wider  and 
more  lasting  popularity  than  those  of  any  other  writer  in  the  same 
field.  In  their  general  appeal  his  songs  most  nearly  approach  the 
requirements  of  what  popular  song  should  be,  and  he  justly  has  been 
called  the  American  people's  composer  par  excellence. 

As  a boy,  Foster  had  shown  remarkable  precocity  in  music 
and  at  seventeen  he  was  the  leader  of  a small  club,  which  met  at  his 
house  for  the  purpose  of  learning  to  sing  in  parts.  When  the  club 
had  exhausted  the  repertory  of  such  songs  as  were  in  favor  at  the 
time,  Stephen  resolved  to  try  the  writing  of  songs  himself. 

"Louisiana  Bell"  was  the  result  of  his  first  effort,  and  in  a week 
"Old  Uncle  Ned,J  followed..  The  style  and  text  of  these  songs  evi- 
dently was  patterned  after  those  used  in  the  minstrel  shows,  which 
were  so  popular  at  the  time.  Some  of  his  other  songs  were  "Oh, 


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Susanna" , “Kelly  was  a lady",  “Old  Folks  at  Home",  "Come  Where  My 
Love  Lies  Dreaming” , "Gentle  Annie”,  "Hard  Times  Come  Again  No  More", 
"Massa*  s in  the  Cold,  Cold  Ground",  "My  Old  Kentucky  Home",  "Nelly 
Bly" , "Old  Dog  Tray"  and  "Old  Black  Joe". 

When  in  his  twenty- second  year  Stephen  Foster  concluded 
that  he  was  not  adapted  to  a commercial  life,  and  he  now  turned  to 
music  in  earnest.  He  seemed  unable  to  abandon  altogether  the  negro 
dialect  in  the  words  of  his  songs,  but  they  are  characterized  by  a 
certain  refinement  in  marked  contrast  to  the  grotesque  and  clownish 
effects  produced  by  other  writers  in  the  same  field,  and  there  is 
an  expression  of  tender  sentiment  pervading  each  song.  Foster  laid 
bare  the  heart-life  of  the  negro,  and  ridicule  found  no  place  in  his 
song  texts. 

The  name  of  George  F.  Root  was  for  many  years  prominent  in 
the  field  of  popular  song.  Mr. Root  was  born  in  Sheffield,  Massachu- 
setts, on  August  13,  1820.  While  a child  he  was  extremely  fond  of 
music  and  attempted  to  play  every  musical  instrument  that  came  with- 
in his  reach.  He  went  to  Boston  while  still  young  and  began  the 
study  of  music  in  real  earnest.  Instruction  was  received  in  singing, 
piano,  and  organ  with  a flute  as  a recreation.  After  some  years 
spent  in  study,  Mr.  Root  became  an  organist  and  choir-master  and  for 
five  years  was  one  of  Lowell  Mason* s assistants  in  teaching  music  in 
the  Boston  public  schools.  In  1844  a position  was  offered  him  in 
New  York,  and  here,  for  many  years,  he  lived  and  worked.  It  was 
while  in  New  York  that  he  first  gained  fame  as  a writer  of  popular 
music.  "Hazel  Dell"  was  his  first  successful  popular  song.  Others 
were  "Rosalie,  the  Prairie  Flower"  and  "The  Vacant  Chair". 

George  F.  Root  was  one  of  the  first  musicians  in  America 
to  realize  the  opening  in  the  field  of  popular  music.  In  writing- 


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for  the  people  he  v/ould  invariably  consider  the  difficulty  of  the 
intervals  and  the  intricacy  of  the  accompaniments.  That  is  v/hy 
there  is  always  found  such  simplicity  in  all  of  his  harmonies.  He 
was  a born  composer  of  popular  music  and  he  reaped  a well-deserved 
success.  The  degree  of  Doctor  of  Music  was  conferred  upon  him  by 
Chicago  University.  He  died  in  1895. 

It  has  been  customary  to  date  the  evolution  of  .America's 
popular  music  from  the  period  of  the  Civil  War  and  the  decades  that 

followed,  but  song-music  by  this  time  had  already  become  familiar 

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to  the  people  by  way  of  the  minstrels,  while  banjo,  violin,  flute, 

melodion  and  piano  had  come  into  common  use  in  the  home. 

Few  popular  songs  survive,  however,  beyond  the  particular* 
period  for  which  they  are  written.  Many  of  them  are  evanescent  as 
thistle-down,  wafted  hither  and  yon  by  a gentle  zephyr  of  sentiment, 
and  then  banished  by  the  stronger  under- current  of  popular  opinion. 
As  a rule,  songs  involving  home-sentiments,  domestic  affections, 
emotions  that  play  on  the  heartstrings  of  the  people,  are  the  songs 
which  neither  time  nor  constant  repetition  consign  quickly  to  ob- 
livion. In  periods  of  great  political  excitement  this  feeling  re- 
solves itself  into  a fervor  of  patriotism,  and  the  war  song  is  the 
result  ("The  Battle  Hymn  of  the  Republic",  "Battle  Cry  of  Freedom", 
"Marching  Through  Georgia",  etc.)  This  is  the  music  of  the  people, 
for  it  becomes  the  popular  music  of  the  period  and  is  invariably  in 
the  form  of  song.  Then  follows  an  aftermath,  in  which  longings  and 
yearnings  for  the  home  life  are  more  deeply  expressed,  when  the 
word  "mother"  becomes  the  dominant  note,  and  her  joy  or  sorrow,  her 

sense  of  loss  or  bereavement,  form  the  chord  around  which  the  song 
is  built. 


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And  yet  certain  of  these  songs  of  sentiment  outlive  those 
of  more  artistic  composition  simply  because  they  touch  the  hearts  of 
the  people.  Every  word  is  understood  because  it  has  been  written 
for  them,  and  the  music  is  usually  simple  enough  that  it  can  be 
readily  grasped.  America  has  produced  much  music  of  this  kind,  songs 
that  will  never  die  because  they  essentially  vibrate  in  the  home-life 
of  the  nation.  Such  a song  is  "Home  Sweet  Home",  which  for  three- 
quarters  of  a century  has  held  its  popularity  and  promises  to  con- 
tinue to  do  so  indefinitely.  From  minstrel  performance  to  opera  this 
charming  song  has  held  its  own  on  the  stage;  from  street  singer  to 
prima-donna  the  public  has  received  it  with  applause;  from  farm- 
house to  palace  it  has  ingratiated  its  universal  sentiment  until  it 
belongs  to  the  vhole  world.  Yet  it  is  a rather  ironical  fact  that 
the  writer  of  the  words,  John  Howard  Payne,  was  a wanderer  throughout 
his  life  and  died  in  a foreign  land. 

Another  composer  of  some  of  the  best  known  of  the  popular 
songs  was  Henry  Clay  Work.  He  wrote  the  words  and  music  to  "Babylon 
is  Fallen" , "Kingdom  Coming",  "Marching  Through  Georgia",  "My 
Grandfather* s Clock"  and  many  others.  He  was  born  in  Middletown, 
Connecticut  in  1832  and  died  in  Hartford,  Connecticut,  June  8,  1884. 

The  composers  mentioned  all  belong  to  the  early  period  of 
the  development  of  popular  music.  In  the  evolution  of  popular  song 
there  has  been  a gradual  change  toward  the  more  complicated  harmonies 
and  rhythms.  In  all  of  the  popular  songs  of  the  early  part  of  the 
present  era  there  is  to  be  noted  a general  similarity  of  construction 
and  treatment.  The  melodies  and  harmonies  are  simple,  but  not  to  the 
extent  of  those  of  the  earlier  period.  But  our  typical  popular  songs 
of  the  present  day  are  far  more  complicated  harmonically  and  rhythmi- 


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cally,  if  not  melodically,  than  those  of  twenty  years  ago.  Most  of 
the  songs  of  the  closing  years  of  the  nineteenth  century  were  songs 
of  home,  honor  and  pure  love.  Among  them  are  "Sweet  Marie", 

"Sweetest  Story  Ever  Told",  "Sunshine  of  Paradise  Alley",  "On  the 
Banks  of  the  Wabash",  and  "She  Was  Bred  in  Old  Kentucky".  There 
were  also  many  "coon"  songs  of  the  period,  the  words  of  which  were 
somewhat  more  refined  than  those  of  the  present  day  "coon"  songs. 

Such  songs  were  "Little  Alabama  Coon",  "Kentucky  Babe",  "Stay  in 
Your  Own  Back  Yard" , etc. 

Of  the  twentieth  century  song  writers  the  names  of  M.  K. 
Jerome,  Jean  Schwartz,  Egbert  Van  Alstyne,  Richard  A.  Whiting, 

Irving  Berlin,  George  Mallen,  Harry  Von  Tilzer  and  Aloert  Von  Tilzer 
are  among  the  best  known. 

In  most  of  the  popular  songs  of  today  the  "chorus"  (or 
refrain)  is  of  most  importance,  for  upon  this  part  of  the  song 
usually  rests  its  ultimate  success  or  failure.  The  words  of  the 
"chorus"  usually  are  applicable  to  every  verse.  In  the  descriptive 

song  the  writer  aims  to  tell  a complete  story  in  as  few  words  and  as 

graphically  as  possible.  The  success  of  the  comic  or  topical  song 
rests  on  the  "gag"  introduced  into  each  verse  and  made  apparent  in 
the  first  or  last  line  of  the  "chorus".  In  the  several  classes  or 
divisions  of  popular  songs  those  of  more  serious  character  strive  to 
make  their  appeal  equally  through  both  words  and  music,  in  the  march 

song  the  music  is  of  most  account,  while  the  comic  song  depends 

largely  on  the  words. 

In  light  opera  and  musical  comedy  is  seen  the  most  elaboratu 
phase  which  popular  music  has  assumed.  Of  late  years  the  country 
has  been  deluged  with  musical  plays  until  their  effect  has  been  felt 


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on  the  legitimate  drama.  These  productions  are  the  natural  sequence 
of  the  decadent  minstrel  show,  and  while  they  lack  the  dignity  of 
the  comic  operas  of  the  European  peoples,  the  American  public  has 
wafted  them  into  favor  until  they  have  become  the  most  popular  form 
of  entertainment  presented  on  the  stage. 

Among  all  the  American  light  operas,  those  of  DeKoven  and 
Herbert  are  intrinsically  the  best,  for  they  are  cleverly  put  togethe] 
and  show  musicianly  treatment.  America.,  however,  has  never  produced 
a writer  of  librettos  to  equal  W.  S.  Gilbert  of  Gilbert  and  Sullivan 
fame,  and  without  the  prerequisite  of  a good  libretto  no  opera,  no 
matter  what  its  musical  value,  can  attain  to  lasting  popularity. 

Harry  Bache  Smith  is  the  greatest  American  librettist,  having  written 
librettos  for  most  of  De  Koven* s and  Victor  Herbert* s operas.  The 
operas  of  Be  Koven,  of  which  there  are  fifteen,  have  achieved  wide 
popularity.  “Robin  Hood"  alone  has  been  enacted  more  than  three 
thousand  times,  while  "The  Fencing  Master",  "The  Highwayman",  "Foxy 
Quiller",  "Red  Feather",  "Maid  Marion",  "The  Little  Duchess",  "Rob 
Roy",  and  others  have  all  had  successful  runs.  Be  Koven  has  also 
written  many  popular  songs  which  have  had  large  sales. 

Victor  Herbert,  who  is  probably  the  nearest  competitor  of 
Be  Koven,  is  an  American  by  adoption,  having  been  born  in  Dublin, 
Ireland,  February  1,  1859.  He  first  came  to  the  country  in  1886  when 
he  joined  the  Metropolitan  Opera  Company  in  Hew  York.  He  7/as  for 
several  seasons  first  ’cellist  of  the  Theodore  Thomas  Orchestra, 
later  became  conductor  of  the  Pittsburg  Symphony  Orchestra,  and  then 
formed  an  orchestra  of  his  own  in  Hew  York.  His  operas  and  musical 
comedies,  while  possibly  not  of  quite  as  high  an  order  as  those  of 
De  Koven,  are  extremely  tuneful  and  pleasing  and  always  show  the 


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touch  of  the  musician,  .Among  the  most  popular  are  "The  Wizard  of 
the  Nile",  "The  Serenade",  "The  Idol's  Eye",  "The  Fortune  Teller", 
"Babes  in  Toyland",  "Babette",  "It  Happed  in  Nordland" , "The  Red 
Mill",  "Mile.  Modiste",  "Naughty  Marietta" , "The  Duchess", 
"Sweethearts",  "Princess  Pat"  and  "Eileen". 

Other  important  writers  of  musical  comedy  are  Rudolf 
Friml  , a Bohemian,  composer  of  "The  Firefly",  "High  Jinks", 

"Katinka" , "You're  in  Love",  "Sometime",  etc.;  Jerome  Kern,  writer 
of  "Oh,  I Say",  "The  Girl  from  Utah",  "Nobody  Home",  "Very  Good 
Eddie",  "Oh  BoyJ",  "Leave  It  to  Jane",  and  others  which  have  had 
considerable  popularity;  Louis  A.  Hirsch,  writer  of  "He  Came  from 
Milwaukee",  "Vera  Violetta",  "The  Ziegfeld  Follies  of  1915",  (same 
for  1916),  "The  Rainbow  Girl",  "Mary",  and  others. 

The  outstanding  characteristic  of  our  modern  musical  com- 
edy is  the  almost  complete  absence  of  plot.  So  long  as  there  are 
two  or  three  acts  of  amusing  dialogue,  striking  stage  pictures, 
elaborate  costumes,  and  taking  music,  nothing  else  is  considered 
important.  Almost  any  of  the  very  recent  productions  would  serve  as 
examples  of  this  type  of  musical  play. 

Foremost  among  the  successful  writers  of  popular  instrumen- 
tal music  stands  the  name  of  John  Philip  Sousa,  the  "March  King". 

It  has  been  said  that  Sousa  writes  with  the  metronome  at  his  elbow 
running  at  one  hundred  and  twenty  clicks  to  the  minute.  Sousa's 
marches  are  without  doubt  the  most  typical  music  which  this  country 
has  yet  produced,  for  they  are  deeply  imbued  with  the  American  spirit 
Sousa,  above  all  others,  has  caught  the  true  martial  swing;  his 
music  also  has  the  stamp  of  his  own  distinct  individuality  and  he 
has  practically  revolutionized  march  music.  Some  of  his  most  sue- 


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cessful  marches  are  "Washington  Post",  "High  School  Cadets",  "Man- 
hattan Beach",  "Semper  Fidelis",  "The  Thunderer",  "Stars  and  Stripes 
Forever",  "Hands  Across  the  Sea",  "El  Capitan" , "King  Cotton",  "The 
Fairest  of  the  Fair",  etc.  Sousa  has  also  written  a number  of  very 
successful  light  operas,  such  as  "The  Smugglers",  "Desiree",  "The 
Queen  of  Hearts",  "El  Capitan",  "The  Free  Lance",  "The  Bride-Elect", 
etc. 

In  comparing  the  early  American  popular  music  with  that  of 
the  present  day,  it  is  interesting  to  hear  the  opinions  of  a few  of 
the  most  prominent  American  musicians.  George  W.  Chadwick,  American 
composer  and  director  of  the  Hew  England  Conservatory  of  Music  says: 

"In  my  opinion,  popular  music  has  degenerated  very  mater- 
ially during  the  last  generation;  v;here  we  formerly  had  beautiful 
waltzes  and  quadrilles  by  Strauss  and  WaldteMfel,  we  now  have  the 
most  barbarous  sounds  that  can  be  produced  by  torturing  an  orchestral 
instrument.  * * * 


"The  modern  developments  in  rhythm  in  popular  music  are 
largely  confined  to  different  forms  of  syncopation.  These  things 
originated  in  disreputable  resorts  of  the  southern  states  and  the 
West  Indies". 

John  Philip  Sousa,  celebrated  band  conductor  and  composer 


says: 

"What  ever  is  inspirational  in  today!s  music,  be  it  sym- 
phony or  jig,  is  equal  to  the  inspiration,  be  it  symphony  or  jig,  of 
days  that  are  gone.  Out  of  the  myriad  compositions  of  the  past,  the 
number  that  live  are  infinitesimal,  and  so  it  will  be  with  the  com- 
positions of  today.  Inspiration  creates  longevity  whatever  the 
form  of  music.  In  the  olden  days,  dancers  had  little  or  no  regard 


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for  the  music  they  danced  to  and  possibly  the  present  generation  of 
dancers  are  no  more  discerning.  The  past  can  show  a great  deal  of 
very  poor  musical  stuff  in  which  the  present  equals  it  but  the  good, 
like  the  poor,  we  have  with  us  always.  The  bad  die  young. 

* * * 

“The  popularity  of  rhythms  goes  in  cycles  --  all  rhythms 
belong  to  the  odd  or  even  division  of  measures.  At  present  there  is 
a tendency  in  so-called  popular  music  toward  the  even  rhythm. 

Strongly  marked  syncopation,  while  very  old  (having  been  used  in  all 
sorts  of  forms,  even  symphonic)  does  not  belong  to  America  any  more 
so  than  to  many  other  nations  who  have  words  in  which  the  first 
syllable  is  very  strongly  accented,  such  words  as  mother,  brother, 
liar” . 

Frank  Damrosch,  director  of  the  Institute  of  Musical  Art 
of  Hew  York,  says  in  regard  to  "popular  music" : 

"Such  music  of  this  kind  which  has  come  to  my  attention 
within  recent  years  leads  me  to  think  that  it  has  deteriorated 
greatly  from  that  which  was  used  in  ray  youth." 

So  we  see  there  is  considerable  disagreement  concerning  the 
present  status  of  American  popular  songs.  The  attitude  of  Mr.  Sousa 
is  perhaps  the  most  sensible  one.  It  is  no  doubt  true  that  there  has 
been  very  bad  music  written  in  the  past  which  has  not  lived  and 
about  which  we  know  little.  It  is  the  good  music  of  the  past  that 
we  hear  about.  It  is  too  often  the  tendency  to  compare  the  best 
music  of  the  past  with  the  worst  of  the  present. 

If  we  take  a few  representative  compositions  of  the  early 
popular  music  and  of  the  present  period  and  analyze  them  we  can  find 
certain  definite  characteristics. 


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Stephen  C.  Foster’s  very  successful  song  "Massa’s  in  de 
Cold,  Cold,  Ground"  is  a typical  example  of  the  first  period  of 
writing.  If  we  examine  it,  we  find  these  characteristics:  a very 

simple  rhythm,  employing  half  notes,  quarters,  dotted  quarters  and 
eighths;  simple  melodic  structure,  containing  no  awkward  intervals; 
very  simple  harmonic  structure,  using  only  four  chords,-  tonic, 
dominant,  sub-dominant  and  dominant  seventh.  There  are  no  modula- 
tions or  transitions,  "Old  Black  Joe"  is  similar,  although  there 
is  a momentary  transition  from  D to  B minor,  the  key  of  the  sub- 
mediant, "Old  Folks  at  Home"  has  a somewhat  more  varied  harmonic 
structure,  employing,  in  addition,  diminished  seventh  chords,  and 
transitions  to  the  key  of  the  dominant  and  sub-dominant.  George  F. 
Root’s  "The  Vacant  Chair"  has  largely  the  same  characteristics  as 
some  of  Foster’s  songs.  It  has  a very  simple,  but  pleasing,  melody; 
it  contains  one  modulation  to  the  key  of  the  dominant.  It  remains 
in  this  key  for  eight  measures  and  then  returns  to  the  original  key. 
There  are  no  unusual  harmonies,  the  only  chords  employed  being  tonic, 
sub-dominant,  dominant  and  dominant-seventh.  The  rhythm  is  simple, 
three-four  rhythm,  employing  half  notes,  dotted  quarters,  eighths, 
dotted  eighths,  and  sixteenths.  "Just  Before  the  Battle,  Mother"  is 
perhaps  more  simple.  It  has  a very  similar  harmonic  structure, 
using  the  same  chords  and  same  transition  (to  the  key  of  the  dominant] 
The  rhythm  is  four-four  and  has  little  variety. 

Some  of  the  outstanding  popular  songs  of  recent  years  are: 
"Smiles",  "America,  I Love  You",  "Over  There",  "Goodbye,  Broadway, 
Hello  France",  "There’s  A Long,  Long  Trail",  "Keep  the  Home  Fires 
Burning",  "Till  we  Meet  Again".  It  is  undoubtedly  true  that  the 
songs  which  have  had  the  widest  popularity  are  the  simpler  ones. 


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"Smiles",  one  of  the  most  popular,  has  a very  simple  rhythm  with 
little  or  no  syncopation.  It  makes  use  of  the  tonic,  dominant 
seventh,  dominant  ninth,  and  diminished  seventh  chords,  and  contains 
modulations  or  transitions  to  the  keys  of  the  sub-mediant,  dominant 
and  sub- dominant.  "America,  I Love  You"  is  one  of  the  many  patriot- 
ic songs  which  were  popular  just  before  and  during  the  war.  It  is 
in  the  nature  of  a 2/4  march  and  has  a very  stirring  rhythm,  making 
frequent  use  of  the  eight,  quarter,  and  eighth  succession  of  notes. 
It  has  the  rather  uncommon  characteristic  for  a patriotic  song  of 
being  written  in  the  minor.  It  contains  transitions  to  the  keys  of 
the  major  sub-dominant,  dominant,  and  other  momentary  transitions. 
"Over  There",  by  the  well-known  George  M.  Cohan  is  one  of  the  sim- 
plest of  popular  songs,  being  built  on  the  bugle  tones  (tones  of  the 
tonic  triad),  and  was  one  of  the  most  popular  of  its  time.  It  con- 
tains simple  momentary  transitions  to  closely  related  keys  and  em- 
ploys, in  addition  to  the  most  common  chords,  the  augmented  six- five 
chord.  "Keep  the  Home  Hires  Burning",  "There’s  A Long,  Long  Trail", 
"Till  We  Meet  Again",  and  "Let  the  Rest  of  the  World  Go  By"  are 
songs  of  a little  different  type,  more  on  the  ballad  order.  They 
are  rather  pleasing,  musically,  altho  of  very  simple  harmony  and 
rhythm,  and  are  very  easy  to  sing;  consequently  they  have  had  enor- 
mous sales.  Earnest  R.  Ball,  writer  of  the  last  song  mentioned,has 
written  the  music  for  numerous  popular  ballads,  such  as  "The  Garden 
of  My  Heart",  "Mother  Machree" , "Till  the  Sands  of  the  Desert  Grow 
Cold",  "Who  Knows?",  "A  Little  Bit  of  Heaven"  and  many  others. 

Certainly  our  present  day  popular  songs  are  equal  to, 
musically,  if  not  better  than  those  of  the  nineteenth  century.  Pop- 
ular music  writers  are  making  efforts  to  get  away  from  the  extreme 


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simplicity  of  our  earlier  music.  This  is  perfectly  natural  and  pro- 
per, considering  that  all  other  things  are  evolving  in  the  some 
direction.  Our  popular  music  of  today  is  transitional.  It  is  to  "be 
expected  that  there  will  be  many  mistakes  and  many  poor  attempts, 
before  any  very  evident,  permanent  improvement  is  brought  about. 

In  the  matter  of  words,  however,  our  popular  songs  of  the 
present  have  degenerated  very  noticeably.  Too  often  a song  with  a 
catchy,  interesting  melody,  is  spoiled  by  having  vulgar  or  suggestive 
words.  Such  songs  as  ”The  Vamp”,  HI’ll  Say  She  Does”,  ”0h,  By  Jingo!” 
and  numerous  others  of  that  type,  have  done  much  to  harm  the  cause  of 
better  popular  music.  But  in  judging  popular  songs,  we  should  not 
let  the  quality  of  the  lyric,  or  words,  affect  too  seriously  our  est- 
imate of  the  music.  Certainly  there  is  some  good  in  our  present 
popular  songs  and  they  serve  a purpose  which  music  of  a higher  grade 
could  not  serve.  It  is  as  wrong  to  condemn  all  popular  music  as  it 
is  to  condemn  all  literature  which  is  written  merely  for  enjoyment. 

In  looking  toward  the  future,  the  outlook  for  American 
popular  music  is  rather  bright.  We  may  expect  a revolution  against 
the  present  tendencies  of  popular  song  lyrics.  These  characteristics 
are  only  temporary,  just  as  some  of  the  tendencies  toward  crudeness 
and  vulgarity  in  modern  vaudeville  and  musical  comedy  are  temporary. 
The  public  will  soon  sicken  of  the  slangy,  suggestive  type  of  song 
and  as  soon  as  popular  taste  is  turned  against  it,  its  production  will 
cease. 

Instead  of  shunning  or  ignoring  all  popular  music,  it  is 
the  duty  of  musicians  and  music-lovers  to  try  to  improve  it.  Even 
though  we  may  have  little  taste  for  it  ourselves,  we  should  remember 
that  there  are  thousands  of  people,  who  can  appreciate  no  other  type 


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of  music.  It  is  only  by  using  our  popular  music  as  a stepping  stone 
that  we  can  develop  the  taste  of  these  people.  Popular  music  is  here 
to  stay;  that  is  certain.  If  we  ignore  it,  it  may  degenerate;  if  we 
lend  our  efforts  toward  directing  its  development,  supporting  the 
good  qualities  and  trying  to  eliminate  the  bad,  we  can  do  much  toward 
improving  it.  Therefore  it  is  our  duty,  not  to  be  indifferent  to- 
ward popular  music,  but  to  acquire  an  intimate  knowledge  of  its 
characteristics,  and  to  become  awake  to  its  possibilities. 


-n 


